According to many critics, the era of "Film Noir" ended with the 1958 release of Orson Welles' classic Touch of Evil. The style was not dead, but rather had been transformed, and two years later, Alfred Hitchcock ushered in a new era of "Noir" films with the release of his 1960 masterpiece, Psycho. Film scholar Ronald Schwartz examines the most significant representatives of this cinematic style, beginning with Hitchcock's shocker and concluding with Michael Mann's Collateral (2004). Schwartz provides in-depth analyses of over thirty of the best "Neo-Noir" films and explains the qualities and characteristics of the "new noir" style. He also explains how it differs from "Film Noir" of the forties and fifties. As this study reveals, the new style significantly impacted American film after 1960. In this chronological guide, Schwartz examines such landmark films as The Manchurian Candidate (1962), Point Blank (1967), The French Connection (1971), Chinatown (1974), Taxi Driver (1976), Body Heat (1981), Blood Simple (1984), Fatal Attraction (1987), The Grifters (1990), Reservoir Dogs (1992), The Usual Suspects (1995), L.A. Confidential (1997), Memento (2000), and Mystic River (2003). The book also includes an alphabetical filmography, listing over 650 films that in plot, style, or subject matter reflect the diversity of the genre. This reference work will be a valuable resource for film scholars and fans alike who wish to further explore the ever-evolving aspects of "Neo-Noir" cinema.

Style matters. Television relies on style—setting, lighting, videography, editing, and so on—to set moods, hail viewers, construct meanings, build narratives, sell products, and shape information. Yet, to date, style has been the most understudied aspect of the medium. In this book, Jeremy G. Butler examines the meanings behind television’s stylstic conventions. Television Style dissects how style signifies and what significance it has had in specific television contexts. Using hundreds of frame captures from television programs, Television Style dares to look closely at television. Miami Vice, ER, soap operas, sitcoms, and commercials, among other prototypical television texts, are deconstructed in an attempt to understand how style functions in television. Television Style also assays the state of style during an era of media convergence and the ostensible demise of network television. This book is a much needed introduction to television style, and essential reading at a moment when the medium is undergoing radical transformation, perhaps even a stylistic renaissance. Discover additional examples and resources on the companion website: www.tvstylebook.com.

Essays on the rise of the horror film and on how moviemakers package and promote fright

This exciting book explores fashion not simply from an aesthetic point of view but also as a manifestation of social and cultural change. Focusing on fashion from 1850, noted fashion historians Daniel James Cole and Nancy Deihl consider the evolution of womenswear, menswear, and childrenswear, decade by decade. The book looks at the dissemination of style and the mechanisms of change, at the relationship between fashion and the visual, applied, and performing arts, the intertwined relationship between fashion and popular culture, the impact of new materials and technology, and the growing globalization of style. With photographs of costume from museums and images from the fashion press including editorial photography, illustrations, and advertising, the book will include insights into icons of fashion and the clothes worn by “real people”, providing a valuable visual reference for the reader.

When the filming stops, the real video production work begins Ever wonder how your favorite video creators regularly put out such slick content? They're probably using Adobe Premiere Pro CC, a go-to video production app for both professional and amateur video creators. Adobe Premiere Pro CC For Dummies walks you through each step of editing and producing slick and stylish videos that stand up to what the pros post. From transferring your digital movie files from your camera or phone to your computer all the way to uploading your latest creation to YouTube or the web, this book has the info you need to bring your ideas to life. If you're new to video production, you can begin at the beginning with the handbook's user-friendly guide to the basics of setting clips on the timeline and making them flow seamlessly. Or, if you've already got a few videos under your belt, you can skip right to the more advanced material, like special effects and handy tricks of the trade. You’ll also find: Instruction on joining video clips into a continuous final product, complete with transitions, special effects, and more Advice on improving sound, getting rid of color errors, and customizing the look of your videos with filters and aftereffects Straightforward guides to adding voiceovers and soundtracks to your videos So, if you're new to Adobe Premiere Pro CC—or digital video editing in general—Adobe Premiere Pro CC For Dummies is the first and last resource you'll need to start editing like a pro.

In this thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contradictions that have restricted the usefulness of post-structuralism.

The Concise Dictionary of Popular Culture covers the theories, media forms, fads, celebrities and icons, genres, and terms of popular culture. From Afropop and Anime to Oprah Winfrey and the X-Files, the book provides more than just accessible definitions. Each of the more than 800 entries is cross-referenced with other entries to highlight points of connection, a thematic index allows readers to see common elements between disparate ideas, and more than 70 black and white photos bring entries to life.

This interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century focuses on pertinent films of the pre- and post-World War II eras. The author explores the nature of expressionism, which is generally agreed to have ended with the advent of sound, and its persistence in the styles of such modern masters of film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.

From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves's career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.

Shadow of a Doubt (1943) was British-born Alfred Hitchcock’s sixth American film and the one that he at various times identified as his favourite and his best. It seems likely that one of the reasons he liked Shadow so much is that is an extraordinarily well-ordered narrative system, a meticulous cause and effect chain that melds its various scenes and sequences together to form a unified narrative that is highly effective in building suspense and cultivating identification with characters. This scrupulously organized film operates as a masterclass on principles of narrative design while generating resonant commentary on the nature of family life. This book redresses the deficit of sustained critical attention paid to Shadow even in the large corpus of Hitchcock scholarship. Analysing the film’s narrative system, issues of genre, authorship, social history, homesickness and ‘family values’, Diane Negra shows how the film’s impeccable narrative structure is wedded to radical ideological content, linking the film’s terrors to the punishing effects of looking beyond conventional family and gender roles. This book understands Shadow as an unconventionally female-centred Hitchcock text and a milestone film that marks the director’s emergent engagement with the pathologies of violence in American life and opens a window into the placement of femininity in World War II consensus culture and more broadly into the politics of mid-century gender and family life.